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84
85<p class="lead magick-description">This page descibed the Image composition methods that is used to define how
86two images should be merged together in various image operations.  For the
87Command Line API it is typically set using the <a
88href="../www/command-line-options.html#compose" >-compose</a> setting option. </p>
89
90
91<p>The description of composition uses abstract terminology in order to allow
92the description to be more precise, while avoiding constant values which are
93specific to a particular build configuration. Each image pixel is represented
94by red, green, and blue levels (which are equal for a gray pixel). The
95build-dependent value <var>QuantumRange</var> is the maximum integral
96value which may be stored, per pixel, in the red, green, or blue channels of
97the image. Each image pixel may also optionally (if the image matte channel is
98enabled) have an associated level of opacity, ranging from <var>opaque</var> to
99<var>transparent</var>, which may be used to determine the influence of the pixel
100color when compositing the pixel with another image pixel. If the image matte
101channel is disabled, then all pixels in the image are treated as opaque. The
102color of an opaque pixel is fully visible while the color of a transparent
103pixel color is entirely absent (pixel color is ignored).</p>
104
105<p>By definition, raster images have a rectangular shape. All image rows are of
106equal length, as are all image columns. By treating the alpha channel as a
107visual "mask" the rectangular image may be given a "shape" by treating the
108alpha channel as a cookie-cutter for the image. This is done by setting the
109pixels within the shape to be opaque, with pixels outside the shape set as
110transparent. Pixels on the boundary of the shape may be between opaque and
111transparent in order to provide antialiasing (visually smooth edges). The
112description of the composition operators use this concept of image "shape" in
113order to make the description of the operators easier to understand. While it
114is convenient to describe the operators in terms of "shapes" they are by no
115means limited to mask-style operations since they are based on continuous
116floating-point mathematics rather than simple boolean operations.</p>
117
118<p>The following alpha blending (Duff-Porter) compose methods are available:</p>
119
120<table class="table table-sm table-striped">
121  <tbody>
122  <tr>
123    <th align="left" style="width: 8%">Method</th>
124    <th align="left">Description</th>
125  </tr>
126
127  <tr>
128    <td>clear</td>
129    <td>Both the color and the alpha of the destination are
130        cleared. Neither the source nor the destination are used (except for
131        destinations size and other meta-data which is always preserved.</td>
132  </tr>
133
134  <tr>
135    <td>src</td>
136    <td>The source is copied to the destination. The destination
137        is not used as input, though it is cleared.</td>
138  </tr>
139
140  <tr>
141    <td>dst</td>
142    <td>The destination is left untouched. The source image is
143        completely ignored.</td>
144  </tr>
145
146  <tr>
147    <td>src-over</td>
148    <td>The source is composited over the destination. this is
149       the default alpha blending compose method, when neither the compose
150       setting is set, nor is set in the image meta-data.</td>
151  </tr>
152
153  <tr>
154    <td>dst-over</td>
155    <td>The destination is composited over the source and the
156        result replaces the destination.</td>
157  </tr>
158
159  <tr>
160    <td>src-in</td>
161    <td>The part of the source lying inside of the destination
162        replaces the destination.</td>
163  </tr>
164
165  <tr>
166    <td>dst-in</td>
167    <td>The part of the destination lying inside of the source
168        replaces the destination. Areas not overlaid are cleared.</td>
169  </tr>
170
171  <tr>
172    <td>src-out</td>
173    <td>The part of the source lying outside of the destination
174        replaces the destination.</td>
175  </tr>
176
177  <tr>
178    <td>dst-out</td>
179    <td>The part of the destination lying outside of the source
180        replaces the destination.</td>
181  </tr>
182
183  <tr>
184    <td>src-atop</td>
185    <td>The part of the source lying inside of the destination is
186        composited onto the destination.</td>
187  </tr>
188
189  <tr>
190    <td>dst-atop</td>
191    <td>The part of the destination lying inside of the source is
192        composited over the source and replaces the destination. Areas not
193        overlaid are cleared. </td>
194  </tr>
195
196  <tr>
197    <td>xor</td>
198    <td>The part of the source that lies outside of the
199        destination is combined with the part of the destination that lies
200        outside of the source.  Source or Destination, but not both. </td>
201  </tr>
202
203  </tbody>
204</table>
205
206<p>Any of the 'Src-*' methods can also be specified without the 'Src-' part.
207For example the default compose method can be specified as just 'Over'.</p>
208
209<p>Many of these compose methods will clear the destination image which was
210not overlaid by the source image.  This is to be expected as part of that
211specific composition methods defintion. You can disable this by setting the
212special <a href="../www/command-line-options.html#define"
213>-define</a> 'compose:outside-overlay' to a value of 'false' will turn off
214this behavior. </p>
215
216<p>On top of the above 12 Duff-Porter Alpha Composition methods, one special
217related method '<code>Copy</code>' has been provided. This is equivalent to
218using the '<code>Src</code>'  with the special <a href="../www/command-line-options.html#define"
219>-define</a> option '<code>compose:outside-overlay</code>' set to
220'<code>false</code>', so as to only modify the overlaid area, without clearing
221the rest of the image outside the overlaid area.  </p>
222
223<p>The following mathematical composition methods are also available. </p>
224
225<table class="table table-sm table-striped">
226  <tbody>
227  <tr>
228    <th align="left" style="width: 8%">Method</th>
229    <th align="left">Description</th>
230  </tr>
231
232  <tr>
233    <td>multiply</td>
234    <td>The source is multiplied by the destination and replaces
235        the destination. The resultant color is always at least as dark as
236        either of the two constituent colors. Multiplying any color with black
237        produces black. Multiplying any color with white leaves the original
238        color unchanged.</td>
239  </tr>
240
241  <tr>
242    <td>screen</td>
243    <td>The source and destination are complemented and then
244        multiplied and then replace the destination. The resultant color is
245        always at least as light as either of the two constituent colors.
246        Screening any color with white produces white. Screening any color
247        with black leaves the original color unchanged.</td>
248  </tr>
249
250  <tr>
251    <td>plus</td>
252    <td>The source is added to the destination and replaces the
253        destination. This operator is useful for averaging or a controlled
254        merger of two images, rather than a direct overlay.</td>
255  </tr>
256
257  <tr>
258    <td>add</td>
259    <td>As per 'plus' but transparency data is treated as matte
260        values. As such any transparent areas in either image remain
261        transparent. </td>
262  </tr>
263
264  <tr>
265    <td>minus</td>
266    <td>Subtract the colors in the source image from the
267        destination image. When transparency is involved, opaque areas is
268        subtracted from any destination opaque areas. </td>
269  </tr>
270
271  <tr>
272    <td>subtract</td>
273    <td>Subtract the colors in the source image from the
274        destination image. When transparency is involved transparent areas are
275        subtracted, so only the opaque areas in the source remain opaque in
276        the destination image. </td>
277  </tr>
278
279  <tr>
280    <td>difference</td>
281    <td>Subtracts the darker of the two constituent colors from
282        the lighter. Painting with white inverts the destination color.
283        Painting with black produces no change.</td>
284  </tr>
285
286  <tr>
287    <td>exclusion</td>
288    <td>Produces an effect similar to that of 'difference', but
289        appears as lower contrast.  Painting with white inverts the
290        destination color. Painting with black produces no change.</td>
291  </tr>
292
293  <tr>
294    <td>darken</td>
295    <td>Selects the darker of the destination and source colors.
296        The destination is replaced with the source when the source is darker,
297        otherwise it is left unchanged.</td>
298  </tr>
299
300  <tr>
301    <td>lighten</td>
302    <td>Selects the lighter of the destination and source colors.
303        The destination is replaced with the source when the source is
304        lighter, otherwise it is left unchanged. </td>
305  </tr>
306
307  </tbody>
308</table>
309
310<p>Typically these use the default 'Over' alpha blending when transparencies
311are also involved, except for 'Plus' which uses a 'plus' alpha blending.  This
312means the alpha channel  of both images will only be used to ensure that any
313visible input remains visible even in parts not overlaid. It also means that
314any values are weighted by the alpha channel of the input and output images.
315This 'Over' alpha blending is also applied to the lighting composition methods
316below. </p>
317
318<p> The math composition is applied on an individual channel basis as defined by the <a href="../www/command-line-options.html#channel" >-channel</a>.  This includes the alpha channel. This special usage allows you to perform true mathematics of the image channels, without alpha
319composition effects, becoming involved. </p>
320
321<p>The following lighting composition methods are also available. </p>
322
323<table class="table table-sm table-striped">
324  <tbody>
325  <tr>
326    <th align="left" style="width: 8%">Method</th>
327    <th align="left">Description</th>
328  </tr>
329
330  <tr>
331    <td>linear-dodge</td>
332    <td>This is equivalent to 'Plus' in that the color channels
333        are simply added, however it does not 'Plus' the alpha channel, but
334        uses the normal 'Over' alpha blending, which transparencies are
335        involved.  Produces a sort of additive multiply-like result.  </td>
336  </tr>
337
338  <tr>
339    <td>linear-burn</td>
340    <td>As 'Linear-Dodge', but also subtract one from the result.
341        Sort of a additive 'Screen' of the images. </td>
342  </tr>
343
344  <tr>
345    <td>color-dodge</td>
346    <td>Brightens the destination color to reflect the source
347        color. Painting with black produces no change.</td>
348  </tr>
349
350  <tr>
351    <td>color-burn</td>
352    <td>Darkens the destination color to reflect the source
353        color.  Painting with white produces no change.  </td>
354  </tr>
355
356  <tr>
357    <td>overlay</td>
358    <td>Multiplies or screens the colors, dependent on the
359        destination color. Source colors overlay the destination whilst
360        preserving its highlights and shadows. The destination color is not
361        replaced, but is mixed with the source color to reflect the lightness
362        or darkness of the destination.</td>
363  </tr>
364
365  <tr>
366    <td>hard-light</td>
367    <td>Multiplies or screens the colors, dependent on the source
368        color value. If the source color is lighter than 0.5, the destination
369        is lightened as if it were screened. If the source color is darker
370        than 0.5, the destination is darkened, as if it were multiplied. The
371        degree of lightening or darkening is proportional to the difference
372        between the source color and 0.5. If it is equal to 0.5 the
373        destination is unchanged.  Painting with pure black or white produces
374        black or white.</td>
375  </tr>
376
377
378  <tr>
379    <td>linear-light</td>
380    <td>Like 'Hard-Light' but using linear-dodge and linear-burn
381        instead.  Increases contrast slightly with an impact on the
382        foreground's tonal values.</td>
383  </tr>
384
385  <tr>
386    <td>soft-light</td>
387    <td>Darkens or lightens the colors, dependent on the source
388        color value. If the source color is lighter than 0.5, the destination
389        is lightened. If the source color is darker than 0.5, the destination
390        is darkened, as if it were burned in. The degree of darkening or
391        lightening is proportional to the difference between the source color
392        and 0.5. If it is equal to 0.5, the destination is unchanged. Painting
393        with pure black or white produces a distinctly darker or lighter area,
394        but does not result in pure black or white. </td>
395  </tr>
396
397  <tr>
398    <td>pegtop-light</td>
399    <td>Almost equivalent to 'Soft-Light', but using a
400        continuous mathematical formula rather than two conditionally
401        selected formulae. </td>
402  </tr>
403
404  <tr>
405    <td>vivid-light</td>
406    <td>A modified 'Linear-Light' designed to preserve very stong
407        primary and secondary colors in the image.  </td>
408  </tr>
409
410  <tr>
411    <td>pin-light</td>
412    <td>Similar to 'Hard-Light', but using sharp linear shadings,
413        to simulate the effects of a strong 'pinhole' light source. </td>
414  </tr>
415
416  </tbody>
417</table>
418
419<p>Also included are these special purpose compose methods:</p>
420
421<table class="table table-sm table-striped">
422  <tbody>
423  <tr>
424    <th align="left" style="width: 8%">Method</th>
425    <th align="left">Description</th>
426  </tr>
427
428  <tr>
429    <td>copy</td>
430    <td>This is equivalent to the Duff-Porter composition method
431        '<code>Src,</code>' but without clearing the parts of the destination
432        image that is not overlaid.  </td>
433    </tr>
434
435  <tr>
436    <td>copy-*</td>
437    <td>Copy the specified channel (Red, Green, Blue, Cyan,
438        Magenta, Yellow, Black, or Opacity) in the source image to the
439        same channel in the destination image.  If the channel specified
440        does not exist in the source image, (which can only happen for methods,
441        '<code>copy-opacity</code>' or '<code>copy-black</code>') then it is
442        assumed that the source image is a special grayscale channel image
443        of the values that is to be copied. </td>
444    </tr>
445
446  <tr>
447    <td>change-mask</td>
448    <td>Replace any destination pixel that is the similar to the
449    source images pixel (as defined by the current <a
450    href="../www/command-line-options.html#fuzz">-fuzz</a> factor), with transparency.
451    </td>
452  </tr>
453
454  <tr>
455    <td>stereo</td>
456    <td>create a stereo anaglyph</td>
457  </tr>
458  </tbody>
459</table>
460
461<p>On top of these composed methods are a few special ones that not only require
462the two images that are being merged or overlaid, but have some extra numerical
463arguments, which are tabled below. </p>
464
465<p>In the "<code>composite</code>" command these composition methods are
466selected using special options with the arguments needed. They are usually,
467but not always, the same name as the composite 'method' they use, and replaces
468the normal use of the <a href="../www/command-line-options.html#compose" >-compose</a>
469setting in the "<code>composite</code>" command.  For example... </p>
470
471<pre class="highlight"><code>composite ... -blend 50x50 ...
472</code></pre>
473
474<p>The "<code>magick</code>" command can accept these extra arguments to its <a href="../www/command-line-options.html#composite"
475>-composite</a> operator, using the special <a href="../www/command-line-options.html#define">-define</a>
476attribute of '<code class="arg">compose:args</code>'.  This means you can now
477make use of these special augmented <a href="../www/command-line-options.html#compose"
478>-compose</a> methods, those the argument and the method both need to be set
479separately.  For example... </p>
480
481<pre class="highlight"><code>convert ... -compose blend  -define compose:args=50,50 -composite ...
482</code></pre>
483
484<p>The following is a table of these special 'argumented' compose methods,
485with a brief summary of what they do. For more details see the equivalent
486"composite" command option name.  </p>
487
488<table class="table table-sm table-striped">
489  <tbody>
490  <tr>
491    <th align="left" style="width: 8%">Method</th>
492    <th align="left">Description</th>
493  </tr>
494
495  <tr>
496    <td>dissolve</td>
497    <td>Arguments:
498        <var>src_percent</var>[x<var>dst_percent</var>]
499    <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#dissolve">-dissolve</a>
500    <br/>Dissolve the 'source' image by the percentage given before overlaying
501        'over' the 'destination' image. If <var>src_percent</var> is
502        greater than 100, it starts dissolving the main image so it will
503        become transparent at a value of '<code class="arg">200</code>'.  If
504        both percentages are given, each image are dissolved to the
505        percentages given.
506    </td>
507  </tr>
508
509  <tr>
510    <td>blend</td>
511    <td>Arguments:
512        <var>src_percent</var>[x<var>dst_percent</var>]
513    <br/>Equivalent to "<code>composite</code>" <a
514        href="../www/command-line-options.html#blend">-blend</a>
515    <br/>Average the images together ('plus') according to the percentages
516        given and each pixels transparency.  If only a single percentage value
517        is given it sets the weight of the composite or 'source' image, while
518        the background image is weighted by the exact opposite amount. That is
519        a <code>-blend 30</code> merges 30% of the 'source' image with 70% of
520        the 'destination' image.  Thus it is equivalent to <code>-blend
521        30x70</code>.
522    </td>
523  </tr>
524
525  <tr>
526    <td>mathematics</td>
527    <td>Arguments: <var>A, B, C, D</var>
528    <br/>Not available in "<code>composite</code>" at this time.
529    <br/>Merge the source and destination images according to the formula
530    <br/>     <code>A*Sc*Dc + B*Sc + C*Dc + D</code>
531    <br/>Can be used to generate a custom composition method that would
532        otherwise need to be implemented using the slow <a
533        href="../www/command-line-options.html#fx">-fx</a> DIY image operator.
534    </td>
535  </tr>
536
537  <tr>
538    <td>modulate</td>
539    <td>Arguments:
540        <var>brightness</var>[x<var>saturation</var>]
541    <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#watermark">-watermark</a>
542    <br/>Take a grayscale image (with alpha mask) and modify the destination
543        image's brightness according to watermark image's grayscale value and
544        the <var>brightness</var> percentage.  The destinations
545        color saturation attribute is just direct modified by the <var>saturation</var> percentage, which defaults to 100 percent
546        (no color change).
547
548    </td>
549  </tr>
550
551  <tr>
552    <td>displace</td>
553    <td>Arguments:
554        <var>X-scale</var>[x<var>Y-scale</var>][!][%]
555    <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#displace">-displace</a>
556    <br/>With this option, the 'overlay' image, and optionally the 'mask'
557        image, is used as a relative displacement map, which is used to
558        displace the lookup of what part of the destination image is seen at
559        each point of the overlaid area.  Much like the displacement map is a
560        'lens' that distorts the original 'background' image behind it.
561    <br/><br/>
562        The X-scale is modulated by the 'red' channel of the overlay image
563        while the Y-scale is modulated by the green channel, (the mask image
564        if given is rolled into green channel of the overlay image. This
565        separation allows you to modulate the X and Y lookup displacement
566        separately allowing you to do 2-dimensional displacements, rather
567        than 1-dimensional vectored displacements (using grayscale image).
568    <br/><br/>
569        If the overlay image contains transparency this is used as a mask
570        of the resulting image to remove 'invalid' pixels.
571    <br/><br/>
572        The '%' flag makes the displacement scale relative to the size of the
573        overlay image (100% = half width/height of image). Using '!' switches
574        percentage arguments to refer to the destination image size instead.
575    <br/><br/>
576    </td>
577  </tr>
578
579  <tr>
580    <td>distort</td>
581    <td>Arguments:
582        <var>X-scale</var>[x<var>Y-scale</var>[+<var>X-center</var>+<var>Y-center</var>]][!][%]
583    <br/>Not available in "<code>composite</code>" at this time.
584    <br/>Exactly as per 'Displace' (above), but using absolute coordinates,
585        relative to the center of the overlay (or that given).  Basically
586        allows you to generate absolute distortion maps where 'black' will
587        look up the left/top edge, and 'white' looks up the bottom/right
588        edge of the destination image, according to the scale given.
589    <br/><br/>
590        The '!' flag not only switches percentage scaling, to use the
591        destination image, but also the image the center offset of the lookup.
592        This means the overlay can lookup a completely different region of the
593        destination image.
594    <br/><br/>
595    </td>
596  </tr>
597
598  <tr>
599    <td>blur</td>
600    <td>Arguments:
601        <var>Width</var>[x<var>Height</var>[+<var>Angle</var>][+<var>Angle2</var>]]
602    <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#blur-composite">-blur</a>
603    <br/>A Variable Blur Mapping Composition method, where each pixel in the
604        overlaid region is replaced with an Elliptical Weighted Average (EWA),
605        with an ellipse (typically a circle) of the given sigma size, scaled
606        according to overlay (source image) grayscale mapping.
607    <br/><br/>
608        As per 'Displace' and 'Distort', the red channel will modulate the
609        width of the ellipse, while the green channel will modulate the height
610        of the ellipse. If a single Angle value is given in the arguments,
611        then the ellipse will then be rotated by the angle specified.
612    <br/><br/>
613        Normally the blue channel of the mapping overlay image is ignored.
614        However if a second ellipse angle is given, then it is assumed that
615        the blue channel defines a variable angle for the ellipse ranging from
616        the first angle to the second angle given.  This allows to generate
617        radial blurs, or a rough approximation for rotational blur. Or any mix
618        of the two.
619    <br/><br/>
620    </td>
621  </tr>
622
623  </tbody>
624</table>
625
626<p>To print a complete list of all the available compose operators, use <a
627href="../www/command-line-options.html#list">-list compose</a>.</p>
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